What’s on TV Tuesday

8 P.M. (Cinemax) DALLAS BUYERS CLUB (2013) A fiercely gaunt Matthew McConaughey, in an Oscar-winning role, portrays Ron Woodroof, a Texas electrician and rodeo rider who, after learning in 1985 that he is H.I.V.-positive, decides to treat himself by hunting down medication that is not then legal in the United States. He eventually begins a subscription service, selling contraband medicine for a monthly fee. Jared Leto, in another Oscar-winning performance, plays Rayon, a transgender woman who becomes Ron’s business partner. And Jennifer Garner is the doctor who turns into an ally. What is largely missing from this drama, directed by Jean-Marc Vallée and inspired by real events, “is the sense that Ron’s efforts are part of a larger movement,” A. O. Scott wrote in The New York Times. “Ron’s bravery and determination are entirely credible, thanks to Mr. McConaughey’s disciplined, high-spirited performance and the filmmakers’ interest in the complexity of the character. But his actions unfold in something of a vacuum.”

10 A.M. (Starz) TRUST ME (2014) Clark Gregg wrote, directed and stars in this black comedy about Hollywood wheeling and dealing, which centers on Howard Holloway, a floundering agent specializing in child actors. He should know: Howard used to be one himself, until his career sank decades earlier. But a chance meeting with a wildly talented 13-year-old from Oklahoma (Saxon Sharbino) with a controlling, alcoholic father (Paul Sparks) might be his road to redemption. Felicity Huffman plays the producer of a new vampire franchise, and Allison Janney is her casting director; Sam Rockwell is his client-poaching archrival. “The performances and some of the writing are the movie’s strongest elements,” Stephen Holden wrote in The Times. Ms. Sharbino “has the radiance and skills to be a teenage megastar,” and Mr. Gregg “succeeds in finding some humanity inside a dislikable creep.”

4:30 P.M. (Ovation) FRENCH KISS (1995) A jilted homebody (Meg Ryan) with a fear of flying travels to Paris to win back her fiancé (Timothy Hutton), only to have a French jewel thief (Kevin Kline) meddle in her affairs in this romantic comedy from Lawrence Kasdan. Mr. Kline, “whose way with heavily accented characters is pure witchcraft,” Janet Maslin wrote in The Times, “offers a fine compendium of Gallic movie-star mannerisms, punctuated by the occasional disgusted shrug.”

8 P.M. (13) TREASURES OF NEW YORK: ST. PATRICK’S CATHEDRAL In anticipation of Pope Francis’s visit to New York next month, this special examines the cathedral’s history, its $175 million restoration and the architectural features that have rendered it a National Historic Landmark.

9 P.M. (El Rey) FROM DUSK TILL DAWN: THE SERIES In Season 2 of Robert Rodriguez’s spinoff of his 1996 supernatural cult western, the action ricochets between Mexico and Texas after a night of mayhem turns Carlos Madrigal (Wilmer Valderrama) and Scott Fuller (Brandon Soo Hoo) into changed men.

10 P.M. (Comedy Central) TOSH.0 Daniel Tosh continues his exposé of the ridiculousness of the Internet in a seventh season, which features a “memorabilia dump” of items from the show to earn back the $24,199 he lost on a single hand of blackjack in 2012.

What’s Streaming Now

MY OLD LADY (2014) Mathias Gold (Kevin Kline), a New Yorker limping toward 60 with three failed marriages and a depleted bank account, inherits a Paris apartment upon his estranged father’s death. Eager to dispose of the property to bolster his finances, he prepares for its sale. But upon his arrival, he discovers a rambling residence inhabited by Mathilde Girard (Maggie Smith), a 92-year-old Englishwoman, and her caustic daughter, Chloé (Kristin Scott Thomas). His father has entangled him in a French real estate arrangement known as a viager, in which a buyer pays a monthly fee to the seller in lieu of a lump sum, forgoing the right to occupy the property until the seller’s death. “As the truth tumbles out, the dialogue and the carefully timed revelations make ‘My Old Lady’ seem increasingly stagy,” Stephen Holden wrote of Israel Horovitz’s adaptation of his own play. “But the performances go a long way toward camouflaging the screenplay’s clunky mechanics.” (iTunes, amazon.com)